This is for readers who love a slow, methodical reveal.
Moore’s latest novel (Heft, 2012, etc.) deals with the debilitating effects of memory loss on a father and his young daughter, using a computer program as a powerful aid for uncovering a seemingly lost family history.
Ada Sibelius is 12 when she first notices a change in her father, the brilliant head of a computer science laboratory in 1980s Boston: “She could not articulate what was different in his demeanor, but it triggered a deep-seated uneasiness in her.” Ada’s childhood hasn’t been normal; her home schooling takes place at the lab, where she goes each day with David, as well as through puzzles that test the knowledge Ada is constantly receiving. She has no friends her age: Liston, her father’s co-worker and close friend, serves as her only female confidante. So when David starts to forget things, even disappearing for hours at a time, to whom can Ada go for help? She’s reluctant to betray the secret of the only person who understands her: “They…looked like mirror images of one another; one larger, one smaller: a Rorschach test; a paper snowflake, unfolded." But then David’s condition begins to worsen rapidly, and Ada is forced to move in with Liston’s family. During this transition in custody, questions surrounding David’s past and identity begin to surface. But he’s no longer capable of explaining himself. Years later, Ada is working in Silicon Valley, and she still doesn’t have answers. What remains of her father before his decline is his life’s work, the language-processing program ELIXIR. David spent hours each day speaking with ELIXIR, teaching it new phrases. Can the program help Ada understand who David really was? While David’s mystery drives the story, this is an internally focused narrative that develops slowly through thoughts and observations rather than actions. This makes sense, as David's and Ada’s existences are so contained, but it takes patience to reach the point when the story becomes gripping. The biggest impact comes in the last chapter, which brings things together powerfully—if only chapters like this were intermingled throughout.
This is for readers who love a slow, methodical reveal.Pub Date: July 26, 2016
ISBN: 978-0-393-24168-6
Page Count: 448
Publisher: Norton
Review Posted Online: May 17, 2016
Kirkus Reviews Issue: June 1, 2016
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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